Everything in dAVEBOx nests like this:

• A note (or an automation point) sits on a step — one slot of a clip's grid.
• A run of steps makes a clip — the basic unit you program and play. A clip also carries its own sequencer effects and automation.
• A track holds 16 clips and points at one instrument. Only one of its clips plays at a time.
• A scene is one clip from each of the 8 tracks, launched together.
• The whole thing is saved as a dAVEBOx project (see Projects).

You work in one of two views and switch between them with Note/Session:

Each track is one of three types, which sets how you enter notes and how the track sequences them:

dAVEBOx borrows Move's ideas and most of its gestures, so much of what your hands already know works here.

Works as on Move:

• Tracks, clips and the Note/Session button. dAVEBOx calls the two views Track View and Session View.
• Playing and placing notes: the pads play in key and scale; press a pad then a step (or hold a step, then press pads) to place notes. Left / Right move between pages.
• Capture: play first, then press Capture to keep it.
• Loop: hold it to see the clip's pages on the step buttons; Loop + jog changes the length.
• Automation: turn a knob while recording. Mute + touch a knob switches its automation off, Delete + touch clears it, and holding a step while you turn a knob sets a value for that step. Holding Mute lights automated knobs red.
• Copy, Delete and Undo work on steps and clips the same way.
• Shift + Step shortcuts mostly sit where Move puts them: 1 your projects, 2 settings, 5 tempo, 6 metronome, 7 swing, 9 key & scale, 10 fixed velocity, 11 arpeggiator, 15 double the loop, 16 quantize.

Where dAVEBOx differs:

dAVEBOx SA is not in the Schwung module catalog yet: you install it by hand, from the files on its release page. It needs Schwung 1.3.0 or newer.

1. Download davebox-sa-module.tar.gz from the release.
2. Open Schwung Manager in a browser at move.local:7700 (plain move.local is Ableton's own Move Manager), go to Modules, open Install Custom Module, choose the file under From Tarball, and click Install from File.
3. On the Move, open Schwung's tool menu — Shift + Step 13 — and choose dAVEBOx SA. The first launch finishes installing by itself.

To remove it, install davebox-uninstall-module.tar.gz from the same release the same way, quit dAVEBOx, and choose Uninstall dAVEBOx SA in the tool menu. Your projects and settings stay in /data/UserData/dbx-host, so a later install picks them up.

Every new project is ready to play:

• Tracks 1–4 play Move's four instruments, loaded with a random stock drum kit, bass and two polyphonic sounds, like a new Move set. Track 1 is a drum track.
• Tracks 5–8 each have an empty Schwung chain, silent until you choose a sound for them. Until then the header and TRACK CONFIG show -- for their instrument.

Tracks that play Move instruments need Link turned on in Move's System Settings; dAVEBOx warns you if it's off.

Open Schwung's tool menu — Shift + Step 13 (the star) — and choose dAVEBOx SA. The lights go out for a few seconds while Move restarts under the dAVEBOx host, then you land on the project picker: one pad per project.

• Click the jog wheel to load the project you had open last — its pad pulses and the screen shows it with Load highlighted.
• Shift + tap an empty pad creates a new project and opens it.
• Shift + tap any other project's pad loads it.
• Shift + Back leaves dAVEBOx, from anywhere, saving first.

dAVEBOx keeps its own projects, separate from your Move sets. Renaming, coloring, copying and deleting them are covered in Projects.

These live in Project Settings (Shift + Step 2). Turn the jog to a row, click, turn to change the value, and click again to set it:

• BPM sets the tempo.
• Key and Scale set the root and scale that melodic tracks snap to. A new project starts in a random key and scale.

Changing Key or Scale offers to move your existing notes with it — see Key & Scale.

Ready to make something? The Quick Start walks you through a first pattern, step by step.

There is nothing to set up. Every dAVEBOx project is created ready to play: tracks 1–4 play Move's four instruments — a random drum kit, a bass and two polyphonic sounds, like a new Move set — and tracks 5–8 each have a Schwung chain of their own. The one thing Move needs is Link turned on in its System Settings; dAVEBOx warns you if it is off.

1. Open Schwung's tool menu (Shift + Step 13 — the star) and choose dAVEBOx. The screen goes dark for a few seconds while Move restarts; that pause is the startup, and nothing has gone wrong.
2. You land on the project picker. dAVEBOx keeps its own projects, separate from your Move sets — one pad per project. Nothing is open yet.
3. Hold Shift and tap an empty pad. That creates a new project and opens it in one press. (Later, to carry on where you left off, just click the jog wheel: the project you last had open is already selected.)

You can come back to the picker at any time with Shift + Step 1. More in the manual's Projects section.

dAVEBOx has two views, and you switch between them with the Note/Session button:

• Session View (where you start) — a grid of clips. Each column is a track, each row is a scene. This is where you launch and arrange clips.
• Track View — the detailed editor for one clip at a time: pads play notes, the 16 step buttons hold its pattern.

A few things worth knowing before the first lesson:

• The jog wheel opens the bank map. In Track View, click the jog (the clickable encoder on the left): the left 4×4 pads become a map of the track's parameter banks — its effects and clip settings — and the screen shows the same map. Tap a pad to go to that bank. Click again, or press Back, to put the map away without choosing.
• There are no track buttons. While the bank map is up, the top two rows of the right-hand pads are the tracks (1–4, then 5–8), each in its own colour. Tap one to switch track. Holding Shift and turning the jog also walks through the tracks.
• Note/Session is the way home. From any menu, bank or picker, one press brings you back to the view you were in.
• Two menus: Shift + Step 2 opens Project Settings (tempo, key, scale, saving and leaving). The active track's TRACK CONFIG menu (its instrument, effects and settings) is the CONFIG pad on the bank map — the bottom-left pad.

That's enough to begin.

Track 1 of a new project is already a drum track, playing a Move drum kit.

1. Tap Note/Session to switch into Track View, on track 1.

The pad grid is split. The left 4×4 pads are drum lanes — one drum sound each. The right 4×4 sets the velocity of the hits you place; you can ignore it for now.

1. Tap a few of the left pads. You'll hear each lane's sound, and the last one you tap becomes the selected lane.
2. With a lane selected, tap step buttons 1–16 (the row below the pads) to place hits. Try steps 1, 5, 9, and 13 for a steady pulse.
3. Select a different lane pad and place a different rhythm — a snare on 5 and 13, a hat on every step.
4. Press Play. Your beat loops.

Each lane is its own little sequencer, so you can even give them different lengths later for polyrhythms. Full detail lives in the manual's Drum Clips chapter.

Now let's play some notes on another track.

1. Click the jog, then tap the 3rd pad in the top row of the right-hand pads — you're now on track 3, one of Move's polyphonic sounds. (The screen flashes the track's number and what it plays.)
2. The pads now play pitched notes, snapped to the project's key and scale. Tap around to hear them. + / − shifts the octave.
3. To sequence a note, hold a pad and tap a step button — that step gets the held note.
4. For a chord, hold two or three pads and tap a step (up to eight notes per step).
5. Press Play if it isn't already running. Track 3 plays alongside your drums.

A new project starts in a random key and scale. To change them, open Project Settings (Shift + Step 2), choose Key or Scale and turn the jog — the pads rearrange, and while playing you hear a live preview. Click to commit; if your clips hold notes, it asks whether to move them too. See Key & Scale in the manual.

Every clip carries its own sequencer effects — they work on the notes, not the sound — reached through the parameter banks.

1. Make sure you're on your melodic track (track 3) in Track View.
2. Click the jog to open the bank map, and tap the DELAY pad — in the FX column (the fourth column of pads), third pad down. The screen's map shows which pad is which, and its header then reads DELAY.
3. Turn knob 3 (REPTS) up to 3 — each note now echoes three times.
4. Turn knob 5 (PITFB) to +5 — the echoes climb in pitch as they repeat.

These settings belong to this clip only. They're non-destructive: they transform playback without changing your written notes, so returning a knob to its default undoes it cleanly. Explore the other banks (NOTE FX, HARMONY, SEQ ARP) the same way — click the jog, tap a pad, turn the knobs. The Sequencer Effects chapter covers every one.

So far you've been editing one clip per track. Each track holds 16 clips, and a row of clips across all tracks is a scene.

1. Tap Note/Session to return to Session View. Columns are tracks 1–8; the top row of pads is row 1, where the clips you've made so far live.
2. Hold Shift and tap the empty pad in track 3's column, row 2. Track 3 switches to that empty clip (and goes quiet), and it opens in Track View. Make a different melodic pattern, then tap Note/Session to come back.
3. Tap track 3's row-1 clip to launch it again, then its row-2 clip — track 3 swaps patterns while the drums keep going. Launching one clip only replaces what was playing on that track.
4. To switch a whole row at once, tap a side button (the buttons left of the grid, top one = row 1) or a step button (step 1 = row 1, step 2 = row 2…). Launch row 2: the drums stop, because their row-2 cell is empty. Launch row 1 and everything comes back.

Launching a single clip changes only its track. Launching a scene switches every track at once — an empty cell in that row silences its track. More in Arranging and Scenes.

Performance Mode grabs a short loop of whatever's playing and lets you mangle it live with a grid of effects.

1. In Session View, with your pattern playing, tap the Loop button. The pad grid turns into a mod grid and stays that way (tap Loop again to leave; or hold Loop to use it only while held).
2. The bottom row's pads 1–5 are capture lengths, from 1/32 up to 1/2 bar. Hold one and the music loops that slice for as long as you hold it; let go and it plays on as written.
3. The three rows above are mods: magenta = pitch tricks, yellow = volume/gate, blue = wild. Tap a pad to switch its mod on (tap again to switch it off), then hold a length pad — the mods work on the captured loop.
4. The step buttons are presets — tap one of slots 1–8 to recall a ready-made combination (try slot 1, "Float"), hold a length pad to hear it, and tap the step again to turn it off.

Performance Mode is deep — capture lengths, latching, and 16 preset slots are all covered in Performance Mode.

dAVEBOx saves as you go — whenever you stop the transport, a moment after your last edit while stopped, and whenever you leave. There is no save button to press.

• Shift + Back saves and leaves dAVEBOx, handing the Move back to official Schwung. It asks first — turn the jog to Yes and click.
• Project Settings → Quit does the same.
• Project Settings → Suspend session parks dAVEBOx instead: it keeps playing in the background while you use Move.
• A reboot always returns you to official Schwung.

For named backups you can return to, use Save state in Project Settings — it keeps up to 16 timestamped snapshots per project. See Snapshots.

You now know enough to make complete patterns. When you're ready for more:

• Choosing sounds — give tracks 5–8 a Schwung instrument, add audio effects, and set levels from each track's TRACK CONFIG menu: Choosing a track's sound.
• Editing notes precisely — hold a step and the knobs act on that step's notes (length, velocity, nudge, probability, ratchets): Editing notes.
• Longer clips and loops — clips can run up to 256 steps; hold Loop in Track View to set the loop window: Clip length & the loop.
• Recording live — press Record to capture pad playing into a clip: Recording.
• Automation — record knob moves that play back with the clip: Automation.
• The Conductor — a track that transposes all the others in real time: The Conductor.
• Exporting to Ableton Live — Project Settings → Export to Ableton renders the whole project to an .ablbundle: Export to Live.

And whenever you need a quick reminder of a control, the manual's Quick Reference lists every gesture on one screen.

Have fun.

• The named buttons each have their own job, and double as modifiers when held with another control. A held combination is written Shift + Note/Session.
• The four side buttons left of the pads launch the active track's clips in Track View, and whole scenes in Session View.
• Left / Right (the arrows) page through a clip; + / − shift the pads' octave (on a drum track, the lane bank; in Session View, the rows).
• Every gesture is listed in the Quick Reference.

Play starts and stops the sequencer.

• Shift + Play restarts from the top.
• Loop + Play (Track View) restarts with the current clip at the page you're looking at.
• Mute + Play turns the metronome on and off.
• Delete + Play stops every clip while playing; while stopped it sends a MIDI panic.

dAVEBOx runs on its own clock by default; it can instead lock to Move's transport or send clock to external gear — see Routing & Sync.

Each view opens on its overview — its home screen, with the track row and the header naming the bank or mixer page.

• On either view's overview, tap Note/Session to switch between Track View and Session View; hold it to peek at the other view.
• Anywhere else — a bank page, menu, the sound editor, a dialog, a picker — Note/Session closes everything and takes you to Session View in one press, however deep you are.
• Back steps out one level at a time; hold Back to go straight back to the overview of the view you're in.

The Track View overview, top to bottom:

• Header: the bank the knobs are on, and at the right what the track plays — [MV1] Move instrument 1, [CH3] MIDI channel 3, [TR2] track 2's instrument, [CNDT] the Conductor, [NONE], or a Schwung instrument's short name.
• Under it: the key and scale (on a drum track, the lane bank and the selected lane's note), and the track's input velocity — VEL:LIVE follows how hard you play.
• Track numbers: a box marks the active track; a muted track's number blinks, a soloed one is filled in.
• Clip letters: under each track, the clip it's on (A–P), filled while it plays or is about to.
• Page bar: one segment per page of the clip's loop — solid for the page you're viewing, outlined for the page playing, with a tick for the playhead. A small mark at either end means there are notes outside the loop.
• Footer: what the controls do here — CLK BANKS (click for the bank map), TCH EDIT (touch a knob or the jog to see the bank's page and edit it) and SHFT TRK (Shift picks the track). Hold Shift and it reads JOG TRACK PAD TRACK: turn the jog, or tap a pad, for the track. In Session View the footer is CLK BANKS TCH MIX (touch a knob or the jog for the mixer page). A bank page says CLK BANKS too while no knob is touched.

There are no dedicated track buttons. Change the active track with:

In Track View, the eight knobs control a bank of parameters, and the bank map — click or hold the jog — picks which bank. Each track has its own banks, in this order:

A melodic track starts on CLIP and a drum track on DRUM LANE: the banks before it are what plays into the track, the ones after it its effects (in the order the notes pass through them) and, last, MIX. CONFIG (the track's TRACK CONFIG menu) and AUTOMATION are reached from the bank map (below). They are screens, not banks: opening one never changes the bank you're on (the overview and a knob peek still show it), and Back from the screen's top level returns you exactly where you were. Shift + hold Step 11 jumps straight to LIVE ARP. The banks are grouped: IN (what you play in), CTRL (what moves the parameters), SEQ (the sequence) and FX (the note effects — on a drum track, the selected lane's, so the map shows them under DRUM LANE). A Conductor starts on CLIP; its RSPD group is how the other tracks respond.

The banks are covered where they belong: Clip Timing & Grid, Sequencer Effects, STEP, CONFIG, MIX and MACROS, and AUTOMATION.

• Click the jog to open the bank map: the left 4×4 pads become a map of the track's banks and the screen shows the same map. Tap a pad to land on that bank, and the map goes. Click again (or press Back) to put it away without picking.
• The right-hand pads are the tracks while the map is up (Track View): the top row is tracks 1–4, the next row 5–8, each in its track colour with the track you are on blinking. Tap one to switch track — the screen flashes TRACK n and what that track plays. On a held map the map stays up, now showing the new track's banks, so the bank you want there is the next tap; on a clicked-open map it closes and you are on the track. The two lower rows are dark and do nothing. Session View's map has no track pads.
• Hold the jog to peek the map instead: it appears the moment you press; tap a pad — as many as you like, the map stays while you hold — and let go to play again. CONFIG, AUTOMATION and INST (and Session View's MASTER, SEND A and SEND B) open a screen, so on a held map they wait: the pad turns white, and the screen opens when you let go. Tap a bank after one and nothing opens. Letting go within half a second without tapping or turning counts as a click, so the map stays up. Holding the jog while the map is already up and tapping leaves it up.
• From inside a screen — a menu, TRACK CONFIG, a module's editor, the AUTOMATION screen — hold the jog for about a third of a second and the same map comes up over it. Tap a pad and you leave the screen for that bank; let go without tapping and the screen is exactly as you left it. A quick click there is still a click (it lands as you let go). This works inside Move's own editor for a Move instrument too: the map shows over Move's screen, and Move's editor is back untouched when you let go. The map does not come up over the on-screen keyboard, over a question that needs an answer, or while Shift, Delete, Copy, Mute or Loop is held.
• Turning the jog does not change the bank.
• Touch the jog to see the current bank's page while your finger rests on it; let go and the overview is back. (In Session View it shows the mixer page.) Turn it off with Jog Touch Card in the global menu.
• Touch a knob to see the bank's page while you touch it — nothing holds a bank page on screen by itself. (Pages you open on purpose — Shift + hold Step 11's LIVE ARP page, the editors, AUTOMATION, TRACK CONFIG — stay until Back.)
• Touch a knob and click the jog to switch a knob marked Alt in the bank tables to its alternate (Res → Zoom, Shift → Nudge, Dir → Reverse Style, Rand → Algo, Rate → Clock Feedback). Only that knob changes. Its cell has corner brackets, like the touch + click actions (Crop, Legato). While you touch it, the bottom of the screen shows CLK and the name it will switch to. Touch + click again, or Back, switches it back; leaving the bank does too. Touch + click also opens a bank's editors: Steps (knob 5) on SEQ ARP and LIVE ARP opens Arp Steps, any knob on RPT GROOVE switches between its Velocity and Nudge pages, and a knob on MACROS opens that macro. Delete + click on AUTOMATION still clears the clip's automation. Each column of the map is a group, and its banks run top to bottom. A bank the track doesn't have leaves its pad dark, and nothing moves, so a bank is always on the same pad: | | IN | CTRL | SEQ | FX | |---|---|---|---|---| | Melodic | CHORD, LIVE ARP, —, CONFIG | MACROS, AUTO, —, MIX | STEP, CLIP, —, INST | NOTE FX, HARMONY, DELAY, SEQ ARP | | Drum | —, RPT GROOVE, —, CONFIG | MACROS, AUTO, —, MIX | STEP, DRUM LANE, ALL LANES, INST | NOTE FX, —, DELAY | | Conductor | —, —, —, CONFIG | ON/OFF, OCTAVE, TIMING (RSPD) | CLIP, STEP | NOTE FX | The pads wear their group's color; the bank you're on is white, and CONFIG, MIX and INST wear the track's color. CONFIG and AUTOMATION, the banks you click into before anything edits, open straight into their menus (TRACK CONFIG, the AUTOMATION menu) and the map goes; Back steps out. INST (beside MIX) is not a bank: it opens the track's instrument, as Shift + hold Note/Session does, and Back returns you to where you were. A Conductor has no INST.
• Shift + jog steps through the tracks.
• Each track remembers its bank, CONFIG, MIX and MACROS included — across track switches, suspend, and quit and relaunch.
• Turning a knob that sets a number (an octave, an offset, a rate, a length, a count) turns its cell into an arc while you touch it, so the value moves the way the knob does. A knob with named choices (arp style, direction) opens its list instead, over a dimmed copy of the page.
• Every bank lights its knob rings: knobs 1–4 white, 5–8 amber, brightness following the value. A dark ring means nothing is on that knob here. The Conductor's ON/OFF, OCTAVE and TIMING banks light each knob in its track's color.

Resetting a bank:

• Resets are undoable: Undo takes back a bank reset or a macro clear; Shift + Undo re-applies it.
• Resetting a parameter also clears its automation. A bank reset clears the automation for that bank's parameters only; clearing or resetting a clip clears all of its automation. On a drum track, clearing a single lane leaves automation alone — a drum clip's automation covers the whole clip.

In Session View the knobs are the mixer, and the jog's map is the Session map:

• Click or hold the jog: the MIXER column is Volume, Pan, Send A and Send B; beside it, the FX column opens the Master, Send A and Send B effects directly, each next to its level. The sends share a color. As on a track, a tap on a clicked-open map picks and puts the map away. The indicator at the top right names the mixer mode.
• Touch a knob (or the jog) to see the mixer page. On the Send A or Send B page, touch a track's send and click to open that send's effects.
• Mixer knobs record automation like any other: turn one while recording and it records into that track's clip.
• A track that plays another track's instrument has no strip; its column shows a cross.
• On a MIDI track, Volume is CC 7 and Pan is CC 10.

Shift + Step 2 opens Project Settings — the settings saved with the project (except Host Settings... and Move Settings..., which apply to every project). The full list is in Settings & Projects; many settings have a Shift + Step shortcut (see the Quick Reference).

Every list in dAVEBOx works the same way:

• Turn the jog to move; the selected row is filled white, and a scrollbar shows when there's more.
• A > at the right of a row opens something.
• To change a value, click the row, turn the jog — the value shows in [brackets] while you change it — and click again to set it. A two-way setting flips on the click.
• Back steps out; in Project Settings it also cancels a change in progress.

Each track's sound is set in its own menu, TRACK CONFIG:

1. Click the jog and tap the CONFIG pad (bottom-left of the bank map).
2. Shift + click the top row, Instmt/Dest, to choose what the track plays: one of Move's four instruments, a Schwung instrument, a MIDI channel, and more.
3. Click Instmt/Dest to edit the instrument. On a Move track this opens Move's own editor for it — change the kit or preset there as you would on Move, then press Back at the top of Move's editor to come back (Note/Session goes to Session View).
4. Click an empty FX row to add an audio effect after the instrument.

Everything else in the menu is in Sound & Track Config.

dAVEBOx saves as you go — when you stop the transport, a moment after your last edit while stopped, at the end of a recording, and whenever you suspend, quit or switch projects. It never saves during playback, and there's no manual save. For named backups, use Save state.

A project has a size limit (about 1 MB — far more than most projects use). Past it, dAVEBOx shows PROJECT TOO BIG / SAVES ON QUIT ONLY / REMOVE SOME CLIPS and stops saving as you go — your work is still written in full when you quit or suspend; remove some clips and it saves as you go again, showing PROJECT SAVED. If a save cannot be written (storage full), it shows SAVE FAILED / CHECK STORAGE and tries again.

• Each asks first, opening on No — turn to Yes and click.
• Leaving — or a reboot, even after a power cut mid-session — brings back your official install, your own Move sets included.
• Suspend keeps dAVEBOx running in the background. To come back, hold Shift and hold Step 13 for half a second (or press Shift + Step 13 twice quickly), or pick dAVEBOx SA in the Tools menu — everything is as you left it.
• If dAVEBOx is your boot default, hold Back at power-on and pick Schwung to go back.

A track's type sets how you enter notes into it and how it sequences them.

• Melodic and Drums are the Mode row at the foot of the track's TRACK CONFIG menu. Scrolling previews the type; clicking commits it.
• Conductor is chosen in the Instmt/Dest picker instead (Shift + click the row), just after the Move instruments. To turn a Conductor back into an ordinary track, choose an instrument in the same picker.
• Tracks start Melodic, except Track 1 of a new project, which starts as a Drum track.
• A track keeps its color, clips and routing whatever its type — even as a Conductor, so its instrument is still there when you switch back.

Stop the transport first — tracks can't change type while playing. Changing type keeps your notes across all 16 clips (position, pitch, length and velocity) and resets the sequencer effects (NOTE FX, HARMONY, DELAY, SEQ ARP).

• Melodic → Drum asks you to confirm if the track holds notes. Each pitch becomes its own lane (a clip with more than 32 pitches loses the least-used ones), and per-step conditions are dropped.
• Drum → Melodic doesn't ask. The lanes merge into one clip with the length of the first lane that has notes, and per-step conditions are dropped.
• Making a Conductor always asks (Make Conductor?). It keeps the notes and their conditions, and clears effects, arps and automation. Only one track can be the Conductor; trying on a second track says which track already is. Choosing an instrument turns a Conductor back into a melodic track, without asking.

The four side buttons (left of the pads) launch the active track's clips. They follow the four clip rows shown in Session View; the lit button is the clip you're editing.

• Mute silences the active track; Shift + Mute solos it.
• Delete + Mute clears every mute and solo (on a drum track, just its lane mutes and solos).
• A live pad you hold still plays through a muted track.
• In Session View you mute each track from its knob — see Arranging.

The pads play notes from the current key and scale. + / − shifts the pad octave; a new track's pads start one octave up.

While you hold notes (pads or an external keyboard), the screen names them in brackets at the right of the key/scale row — the note ([F#3]) or the chord:

• Middle C is C3, as on Move.
• A raised dot after a chord name ([A♭MAJ7˙]) means the chord is played without its third.
• A combination with no common name shows its notes instead ([C C# D]).
• Flat keys spell with flats, the key label included (B♭ MINOR).
• Only what you play is shown, never the sequencer's notes.

To place notes on the grid, use the 16 step buttons:

Steps past the clip's length are dimmed. These step gestures work on drum steps too — see Drum Clips.

#Pad layouts

Shift + Step 8 (or the Layout row in the track's TRACK CONFIG menu) steps through five layouts, and the screen flashes IN-SCALE, CHROMATIC, PIANO or CUSTOM CHORDS:

• Scale (default) — only in-scale notes, with the root in the track color. Each row starts three scale notes above the row below.
• Chrom — all 12 semitones, in-scale notes highlighted. Each row carries on from the end of the row below.
• Piano — two keyboard octaves from C: the lower octave on the bottom two rows, the higher on the top two. Each octave's bottom row is the white keys (C to the next C) and the row above it the black keys, each sitting between its two white keys; pads with no black key are dark and silent. The root is in the track color and in-scale keys are brighter than the rest.
• Chord — below. Leaving it takes its explainer card with it.
• Custom — chords you build yourself on the bottom row, the Scale layout on the other three. See The Custom layout.

#The Chord layout

The Chord layout plays a whole chord from one pad, always in the track's key and scale. Switching to it shows a card explaining the rows (click the jog or press Back to dismiss) and puts the track on its CHORD bank.

• Bottom row: eight chords — by default I ii iii IV V vi vii° and I an octave up — colored by function (tonic, subdominant, dominant). They follow key and scale changes.
• Row 2: hold 7, 9, sus2, sus4, add9 or 5 while you press a chord to change it, or press one while a chord is held to change it as it sounds. The last two pads, Inv− and Inv+, move the voicing down or up one note: hold one before a chord for that press, or tap it while a chord is held (each tap moves it further).
• Row 3: the notes of the last chord you played, rising — strum or pick them. They stay after you let go.
• Top row: the scale, with the key's root on the fourth pad — three notes below it, four above (G A B C D E F G in C major).
• The CHORD bank (on the jog after LIVE ARP, Chord tracks only) sets:
  • Voicing — moves every chord at once.
  • Smooth — Off; Follow (each chord takes the voicing nearest the one you played last); Anchor (every chord takes the voicing nearest one chord you choose on the Anchor knob, which appears only in this mode).
  • Bass (adds the root below) and Bass Octave.
  • Strum — moves rows 3 and 4 by octaves.
  • Slots: Play / Select — in Select the chord pads are silent and only choose what row 3 strums.
• To edit a chord, hold it while on the CHORD bank. The page switches to that chord, titled with its numeral and name (vi · AMIN) — Root, Stack, Inversion, Spread, Bass (Off / Root / 3rd / 5th) and Octave, plus Reset on knob 8 (touch it and click the jog) — and switches back when you let go.
  • On every other bank a held chord leaves the knobs alone, so you can play chords and turn sound or sequencer knobs at the same time.
  • A stack with no in-key version on that chord (sus4 on IV in a major key) plays the plain chord, and the page says so.
• While you hold a chord, Track View names it with its numeral: [vi · AMIN]. Lowercase numerals are minor, ° is diminished.
• Holding a step and tapping a chord writes the whole chord into the step.

#The Custom layout

The Custom layout gives you eight chords of your own on the bottom row. The other three rows are the Scale layout, starting from the root at the left of row 2. A chord keeps the exact notes you put in it; changing the key or scale does not change it. Chords are saved per track.

• Play: press a chord pad. A pad with a chord is cyan, so the row stands apart from the note pads; an empty one is dark and silent. Track View names the held chord ([CMAJ7]).
• Build or edit: hold a chord pad and tap pads on the upper rows. Each tap adds that note, or removes it if the chord already has it. A chord holds up to six notes.
  • While you hold a chord, its notes are lit white on the upper rows.
  • Each pad you tap sounds as you tap it. A chord that is already sounding changes as you edit it.
  • An empty chord stays silent while you fill it; you hear the whole chord the next time you press its pad.
  • Notes added this way are not written into a recording in progress.
• Or notes first: hold the notes on the upper rows and tap an empty chord pad — it takes them (the lowest six). A pad that already has a chord just plays, so holding a note over the chords never changes one.
• Copy a chord: hold Copy, tap the chord, then tap each pad that should get it. Shift + Copy moves it instead. Undo takes back the last paste.
• Octaves: + / − move the part of the pads you touched last. The chord row and the upper rows each have their own octave, and the screen says which one moved (CHORDS OCTAVE or PADS OCTAVE). Move the upper rows to reach notes in another octave while building a chord.
• Move one chord an octave: hold its pad and press + or −.
• Clear a chord: Delete + its pad. Undo brings it back.
• Holding a step and tapping a chord writes the whole chord into the step.

A step holds up to eight notes. Build a chord two ways:

• Pads first: hold one or more pads, then press a step.
• Step first: hold a step, then tap pads one at a time. Tap a held note again to remove it.

Holding a step points whatever knobs are on screen at that step:

• On the STEP bank (the first of the SEQ banks on the jog, just before CLIP) the knobs are the note's own settings, listed below. With no step held the bank reads Hold step to edit.
• On a module editor, MACROS, or a sequencer-effect bank (NOTE FX, HARMONY, DELAY, SEQ ARP, and CLIP's Dir), the knobs write a lock at that step (see Automation).
• LIVE ARP and the rest of CLIP do nothing under a held step.

Reach the note settings from anywhere: hold a step with notes and turn the jog right to show its STEP page; turn left (or let go) to return. A JOG RIGHT / Edit step card appears as the hold begins; the footer reads JOG STEP while holding and JOG BACK on the step page. Empty steps have no step page.

• Edits apply to every note in the step, and one hold is one undo.
• Stretch a note: once the hold has begun (the Edit step card shows), tap a later step to set the note's length up to it; tap that step again to shorten it by one. Left / Right still page, so a note can stretch past the current page. (Tapping steps together, without the pause, toggles them instead.)
• A note nudged past half a step moves to the neighbouring step when you let go.
• + / − moves the octave range to reach higher or lower notes.

#Per-step conditions

Three settings decide whether and how a step fires. Each is off by default — Iter and Ratch read --, Prob reads 100 %:

• Iteration (Iter) plays the step only on certain passes of the loop: 2:3 plays on the 2nd pass of every three. The counter resets on a cold start (Stop → Play).
• Probability (Prob) gives the step a chance of playing, from 100 % down to 1 %. The roll is per note, so chords thin out unevenly.
• Ratchet (Ratch) retriggers the step 2, 3 or 4 times within its slot.

They stack in that order: iteration decides if the step plays, probability rolls per note, and a note that plays fires all its ratchets.

The conditions belong to the step's notes: removing the step's last note (tap its pad while holding the step) clears them, as clearing the step does.

Press Record to play notes into the active clip in real time.

• While playing, Record is a punch: press to drop in, again to drop out, both taking effect the moment you press.
• A take that began with the count-in into an empty clip stops at the end of the page; Record blinks until it does. An empty clip sizes itself in whole pages as you record.
• Recording adds to what's there and never erases. For a clean take, clear the clip first (Delete + side button); that also frees its length so the take sizes itself to what you play.
• Notes played in the last half-beat of the count-in land on step 1.
• You can switch tracks mid-take; recording follows the active track.
• Recording needs the Forward playback direction. A clip set to another direction shows REC UNAVAILABLE: set its Dir to Fwd, or choose Bake Now (see Bake).

#Step recording

With the transport stopped on a melodic track, Shift + Record opens step entry (drum and Conductor tracks don't have it). Record turns white and one step blinks white — the cursor, starting at the first step of the page you're viewing.

• Play a pad (or several together for a chord): the notes land on the cursor step, and the cursor moves on when you let go.
• Right with pads held ties the note a step longer, each press extending it; Left with pads held takes one step back off. The steps the note is held over light in the tail colour as you go, as they do when you hold a step.
• Right alone is a rest: the cursor moves on, writing nothing.
• Left steps back and erases what you entered there this session. Notes already in the clip stay.
• The cursor stops at the clip's last step; it never wraps.

Leave with Shift + Record, Record, Back, or press Play to hear it. One undo takes back the whole step-recording session.

dAVEBOx is always listening: play something, then tap Capture to keep it.

• Notes you play while not recording are held in a buffer; Capture writes them into the clip.
• That includes notes from an external MIDI keyboard or controller.
• With LIVE ARP on, what is kept is the arpeggio you heard, not the pads you held; with Note Repeat, each repeated hit — the same as recording.
• Notes a generating MIDI effect plays are kept too, when its Notes to Seq is on (see Editing a module).
• Knob moves are held too, and land as automation.
• The Capture button blinks white while there's something to keep.

What Capture does depends on the transport:

• After a stopped capture into an empty project, a tempo chooser offers the detected BPM and nearby candidates over a strip of your take against the bars. Playback keeps rolling as you scroll them.
• Capture works on drum clips too.
• One Undo takes back any capture.
• Shift + Capture clears the buffer, knob moves included.

What the buffer holds — what you just played:

• at most the last 8 bars;
• playing over a spot you already played on an earlier lap replaces that lap, so four passes of jamming keep the last one;
• it starts afresh when you select another track, edit a clip by hand (entering steps, clearing), launch a clip or scene, arm Record, start or stop the transport, or pause for about two bars;
• every Capture tap empties it, even one that found nothing to keep.

Capturing knob moves:

• Any parameter you turn while the loop runs with Record off is kept; one Capture tap commits them all into the clip you heard them in, as smooth, editable lanes.
• Knob moves are only buffered while the transport runs. Another lap replaces what the last lap kept, and stopping clears them.

A clip plays its loop — a run of up to 256 steps, shown as pages of 16. The loop is the clip's length, and it normally starts on step 1.

• Left / Right moves between the pages inside the loop. While the transport runs, this also pauses Seq Follow, so the page stays where you went; it follows again the next time the transport stops. (Restarting with Shift + Play or Loop + Play isn't a stop, so the pause stays.)
• Seq Follow keeps the step display on the page that's playing. It is one switch for the whole device and is remembered between sessions: hold Left or Right and press Play to turn it on or off. That press does nothing else; the transport isn't started or stopped. It works in the sound editors too, but not in Session view. On the track overview, a small ▶| mark left of Vel: shows Follow is on. It blinks while an arrow has paused it, and it's gone when Follow is off.
• Loop + jog grows or shrinks the loop by a step.
• Shift + Step 15 doubles the loop and copies what's in it into the new half.

Hold Loop for the loop view: the step buttons stand for pages, and a page inside the loop lights in the track color (pulsing if it holds notes). While Loop is held:

Notes outside the loop are kept and return when you widen it. For example, to make a 2-bar clip on the 1/16 grid, hold Loop and tap Step 2.

Tap Loop instead of holding it and the loop view stays up (the Loop button blinks white) so you can set the loop with your hands free. The pads keep playing. Tap Loop again, or press Back, to close it; switching to Session View or opening a menu closes it too. A tap that already does something else still does only that: on a drum track with a latched repeat it releases the repeat, and with the arpeggiator's latch holding notes it clears them.

Copying pages. Hold Loop and Copy, tap a lit page (it blinks), then tap another page: it becomes an exact copy — every note, velocity, length and step setting; empty steps too. Keep holding Copy to paste onto more pages. Shift + Copy cuts. A paste past the end of the clip makes the clip longer, and one before the loop's start moves the start back. Only what plays is copied: steps outside the loop count as empty. Automation stays where it is. On a drum track it copies the selected lane, or every lane on the ALL LANES bank. One Undo takes a paste back.

The clip transforms — Stretch, Shift, Nudge, Legato and Zoom — need the loop to start on step 1; on a loop that starts later they do nothing and the screen says LOOP STARTS AFTER STEP 1 / CROP FIRST. Crop (CLIP knob 6: touch it and click the jog) makes the loop the whole clip: it moves to step 1 and everything outside it is removed. One Undo brings it back.

Undo reverses the last edit; Shift + Undo redoes it. Undo is one step deep and covers step and clip edits, copy and clear, recording, bakes and more.

Select a lane, then tap steps 1–16 to add or clear its hits. The steps always show the selected lane.

Velocity zones (the right 4×4) set the velocity of the hits you place next — 16 zones from 8 (bottom-left) to 127 (top-right). A zone pad also plays the selected lane at that velocity; with a step held it sets that hit's velocity, or places the hit if the step was empty. While you hold a step with a hit, the zone nearest its velocity lights white.

A lane's sound is set by its MIDI note, on the NOTE FX bank: knob 1 moves it by an octave, knob 2 by a semitone. The screen shows the note, e.g. Pad: C1 (36). A new drum track's bank A plays notes 36–51 — the notes of a Move drum kit's 16 pads — so a Move kit lines up pad for pad.

Editing a hit works the same as note edit, minus the pitch knobs: Leng, Vel and Nudg on knobs 1–3, Iter, Prob and Ratch on 5–7.

Each lane has its own loop length: Loop + jog on the selected lane. On the ALL LANES bank, Loop + jog and the loop-page gestures set every lane at once. Lanes of different lengths (kick 16, hat 12, percussion 10) make a polyrhythm from one clip.

As on a melodic clip, the transforms need a lane's loop to start on step 1 — on ALL LANES, every lane's. Crop moves it there: DRUM LANE knob 6 for the selected lane, ALL LANES knob 5 for every lane.

Note Repeat retriggers a lane at a steady rate. Shift + Step 8 cycles the right pads between velocity zones and the two repeat modes; entering a repeat mode names it and puts the track on its RPT GROOVE bank.

The bottom two rows of the right pads are rates (straight, then triplet); the top two rows are an 8-step gate mask — see the drum pad diagram.

• Rpt1 repeats the selected lane: hold a rate pad. Velocity follows pad pressure, and you can change lanes while holding.
• Rpt2 repeats any lane at a rate you assign it: tap a rate pad to assign it to the selected lane, then hold a lane pad. Hold several for layered repeats.

Latch keeps a repeat going after you let go:

• Loop + rate pad (Rpt1) or Loop + lane pad (Rpt2) — or press Loop while already holding one.
• Tap a latched pad again to release it.
• Loop with no pads held, or Delete + Loop, releases every latch on the track. Stopping the transport clears them too.
• Latched lanes light cyan.

The gate mask (top two rows) is a looping on/off pattern over the repeats:

• All steps are on by default; tap to toggle.
• Loop + a gate pad sets its cycle length (1–8) and turns every gate in it back on; gates past the cycle show dark grey.
• Delete + a gate pad resets that step's groove.
• Per-step velocity and timing are on the RPT GROOVE bank.

• Copy + lane pad, then tap another lane to paste (the destination keeps its own MIDI note). Shift + Copy cuts.
• Mute + lane pad mutes a lane; Shift + Mute + lane pad solos it (the two cancel each other). Delete + Mute clears the track's lane mutes and solos.
• Delete + lane pad clears the lane's hits (LANE CLEARED).
• Shift + Delete + lane pad resets the lane — hits, length, loop, effects and repeat groove — but keeps its sound (LANE RESET).

A melodic clip's grid, direction, and note transforms.

Direction is Forward, Backward, or one of two ping-pong modes (they differ only in which end they start from). Reverse Style (the alt of Dir) sets what backward playback does to each note:

• Step (default) reverses the order of the steps; each note still triggers at its start and sounds unchanged.
• Audio also mirrors each note within its slot — note-on at the note's end, note-off at its start — for a tape-reverse feel. In ping-pong, Audio plays the endpoints twice, so every note gets one forward and one reversed pass.

Recording needs Forward direction; bake and export freeze the direction into the notes and reset it to Forward.

The selected lane's grid — the drum counterpart to the CLIP bank.

Lane length is Loop + jog; the lane's MIDI note is on the NOTE FX bank. Zoom, Stretch, Shift and Legato need the lane's loop at step 1 — Crop puts it there.

Applies one setting to all 32 lanes at once. It opens like any other bank: the knobs, Loop and the Shift + Step shortcuts act on every lane straight away. Touch Shift or Dir and click the jog to switch that knob to its Alt.

Stretch and Shift are refused (LOOP STARTS AFTER STEP 1 / CROP FIRST) if any lane's loop starts later than step 1. The track's velocity input (VelIn) is on TRACK CONFIG and Shift + Step 10.

Melodic & drum.

Shifts every note's pitch, velocity, timing, and length.

On a drum track, knobs 1 and 2 (OCT, NOTE) set the selected lane's MIDI note; knobs 3–6 apply to that lane, and 7–8 are empty.

Melodic.

Adds up to four voices to every note (0 = off; negative values add the voice below):

• OCT — an octave voice, ±4 octaves.
• HARM1–HARM3 — harmony intervals, ±24: scale degrees with Scale Aware on, semitones with it off.

Melodic & drum.

Echoes every note in rhythm.

On a drum track DELAY has no pitch controls: knobs 5–7 are Gate, Clock Feedback and Retrigger.

Melodic. Per clip.

An arpeggiator running after Delay, on both sequenced and live notes.

Touch knob 5 (STEPS) and click the jog for the per-step editor (on LIVE ARP too); the knob's cell has corner brackets, and the bottom of the screen reads CLK STEPS while you touch it. A jog turn or Back closes the editor:

• Knobs 1–8 set each step's pitch offset (±24 scale degrees); with Shift held they set each step's velocity (Thru passes the incoming velocity).
• On the pads, the column is the step and the row one of four velocity levels, bottom to top. Press the bottom row again to turn the step off; Delete + pad sets Thru.
• Loop + pad sets the step-loop length (1–8).
• Turn the jog to close the editor.

These shape what you play live — on the pads or over external MIDI — before it's sequenced, leaving the stored clip untouched.

#LIVE ARP

Melodic. Per track.

An arpeggiator for live pad and external input; sequenced notes are left alone. The controls match SEQ ARP (except Retrigger defaults to Off), plus Latch (LATCH, knob 8), which keeps the arp running after you let go:

• With pads held, tap Loop to latch; tap it again (pads held) to unlatch.
• Loop with no pads held clears the latched notes but keeps Latch on.
• Stop, Delete + Play, or switching to Session View unlatches.
• Shift + Step 11 (tap) toggles LIVE ARP on and off with the last style.
• Shift + hold Step 11 (about half a second) opens LIVE ARP's page and holds it on screen — the knobs edit it, touch knob 5 + click opens Arp Steps — until Back closes it. LIVE ARP is an ordinary bank: the knobs stay on it after the page closes, and it is on the bank map (IN column, second pad).
• LIVE ARP can't be automated — its settings belong to the track, not a clip. It is still available as a macro destination.

#RPT GROOVE

Drum. Per lane.

Repeat Groove shapes the 8-step gate mask of a lane's Note Repeat; you hear it while a repeat mode is active.

Touch any knob and click the jog to switch pages; the bottom of the screen says KNB+CLK NUDGE or KNB+CLK VELOCITY, whichever is next.

Delete + jog click resets the selected lane's groove, whether or not a repeat mode is on.

Two ways:

• Record it. With the transport playing and Record armed, turn a knob: the move is written at the playhead for as long as your hand is on the knob, round the loop as many times as you hold it. Parameters you don't touch keep what they had. Each time you start, a notice says how long the lane you're recording onto is — ● LANE: 2 BAR, or ● LANE: 13 ST when it isn't whole bars — the cycle the move will repeat on. See Recording.
• Lock a step. Hold a step and turn a knob: that step takes a lock, a value the parameter jumps to when the step plays. See Editing notes.

A value holds until the next one, round the loop too: the clip's last value carries through its first steps until the first lock or recorded move comes round. A recorded (smooth) move glides from its last value back to its first across the loop point.

What can be automated: a Schwung module's editor pages, the levels on MIX and in the session mixer, the eight MACROS, and these dAVEBOx bank knobs — CLIP and ALL LANES direction, NOTE FX (all but LEN>), HARMONY, DELAY, and SEQ ARP (all but STEPS). On a drum track, NOTE FX is set per lane and isn't automated. See Parameter banks and Sequencer Effects.

• An automated knob shows a dot on its cell and a blinking ring.
• Mute + touch mutes that parameter's automation; Delete + touch clears it. (In the session mixer, Mute + touch still mutes the track.)
• Without Record, turning an automated knob while playing takes it over until you let go; while stopped, it sets the value the parameter rests at.
• Switching clips returns the old clip's automated parameters to rest; a clip that automates the same parameter starts at its own resting value straight away. A parameter whose automation you muted stays where you put it.

AUTOMATION is on the bank map (the AUTO pad): a list of everything automated in the current clip — parameters, levels, MIDI targets and the pads' aftertouch. Its knobs do nothing; the jog does everything.

• Each row shows its cycle, the length it repeats over: 4 BAR, 13 ST (steps, when it isn't whole bars; 13 ST/32 when its steps aren't sixteenths), or CLIP when it follows the clip. A muted row reads OFF, a cleared one EMPTY and its length, and the pads' aftertouch PADS.
• With nothing automated the bank reads NO AUTOMATION.

Click the jog for the menu. With the cursor on a row, the step buttons, pages and screen show that row's lane, not the clip's notes:

• Step buttons are coloured by the value the lane plays on each step — dim for low, bright for high. A step holding a value you set (a lock or a recorded point) blinks off briefly; steps past the end of the cycle are dark grey.
• Left / Right page through the lane's own length: a 4-bar lane under a 1-bar clip has four pages. The header shows the cycle and page (2 BAR PG 1/2).
• The playhead shows where that lane is in its own cycle.
• Hold a step with a value set to jump to where that parameter is edited — its bank, its module's page (on a per-pad parameter, that pad), MIX for a level, MACROS for a MIDI target or a SnapMorph knob. Turn its knob to change the value on that step; let go to come back, on the same row and page. On a bank the header shows <AUTO S7 (step 7). The parameter's cell is highlighted, and while the step is held it shows the value the lane plays there — shown only, the parameter doesn't move until you turn the knob. A module's page keeps its graphics (filter curve, envelope) while you're there.
• Shift + click a row to jump to where that parameter is edited; Back returns you to this menu, on the same row. The step buttons keep showing the lane there, so you can hold a step and turn the knob to set it.
• Back closes the menu, and the step buttons show the clip again.

Click a row for its operations:

• Mute / Unmute.
• Mode — Curve plays the lane as a continuous envelope; Punch makes each lock last only its own step, with the parameter at rest on every other step (Smooth and Wrap don't apply there and are hidden).
• Smooth — On glides between values, Off steps (on parameters that can ramp).
• Wrap — Carry keeps the last value going round the loop; Reset returns the parameter to where the knob sits at rest, until the first lock or recorded move comes round.
• Link — On (default): the automation is transformed with the note sequence — Resolution and Beat Stretch scale it, Clock Shift and Nudge move it (inside the clip's loop, as they move its notes), doubling the loop copies it forward, and Crop moves it to step 1 with the loop and removes what lay outside (on a drum track, the ALL LANES versions; a lane with its own Loop is left as it is). Off: it stays put whatever you do to the notes.
• Loop — the parameter's own loop length in steps, or CLIP to follow the clip. It can be shorter than the clip (it repeats inside it) or longer, up to 256 steps (it runs across several passes of the clip). A lane with its own Loop runs in step with the song, and restarts when its clip is launched at Launch 1-bar — see Launching clips.
• Rate — /16 to ×16, the loop stretching to match.
• Scale — 0–200 %: how far the lane moves (toward zero, or on a centred parameter like pan or pitch bend, toward and away from its centre).
• Clear — every value goes, but the lane stays with its settings, its length included (it reads EMPTY and its length, e.g. EMPTY 4 BAR, ready for new values). On a drum track, set Loop on the empty lane and new recording or step input lands at that length.
• Delete — the lane goes altogether.

The last row is Clear all; Delete + click on the card does the same. Every operation is one undo, and Back closes one layer at a time. Conductor tracks don't have this bank.

On a drum track, automation belongs to the whole track, and each automated parameter has its own cycle, taken from the lane that was selected when you first recorded or locked it:

• Select a 12-step hat lane and record a filter sweep: the sweep repeats every 12 steps while the 16-step kick carries on around it.
• The cycle stays put: recording more onto it from another lane, editing it, or changing the lanes' lengths afterwards doesn't change it.
• Two operations do: Loop sets it in the parameter's own steps (it can run longer than any lane — it plays in full), and Match pad makes it the selected lane's.
• ALL LANES Clock Shift, Nudge, Resolution, Beat Stretch and Double move each parameter's automation inside its own cycle.
• The clip as a whole runs the length of its longest lane; shorter lanes loop inside it.

Copying or cutting a clip takes its automation with it. To another track, automation of the track's levels and of dAVEBOx's own knobs always comes along; automation of an instrument or effect parameter comes along only when the destination has the same instrument or effect in the same place. Anything left behind is counted in a notice (AUTOMATION / 1 LANE NOT CARRIED).

A macro can point at Aftertouch or Pitch Bend on any track, and at any MIDI CC on a MIDI track. They record, lock, mute and clear like any other parameter and appear in the AUTOMATION list by name — see the MACROS bank. Aftertouch played from the pads is recorded on its own and shows in the list as its own row.

Clips launch at once by default. To have them wait for the next beat or bar, set Launch in Project Settings.

• Launching a clip replaces whatever was playing on that track.
• Where a launched clip starts depends on Launch in Project Settings. At 1-bar it starts from its beginning — its notes, every drum lane, and any automation lane with its own Loop. At every other setting (Now, 1/16 … 1/2) it launches in step with the song: it plays from wherever it would be had it been running since you pressed Play.
• Switching to a track launches its current clip only if that clip is empty.
• Keep holding Copy to paste one clip into several slots; releasing Copy empties the clipboard.

A scene launches one clip from every track at once — tap a side button (left of the grid) or a step button (1–16). Shift + side button launches at the end of the current page. Launching a scene switches every track to that row, so a track whose clip there is empty falls silent.

In Session View each knob stands for its track:

• A live pad you hold still plays through a muted track.
• The knob LEDs show each track's state: its color when playing, dark when muted, blinking when soloed.
• Mute the active track directly in Track View; mute a drum lane in Drum Clips.

Store up to 16 mute/solo states; they persist across reboots. In Session View, hold Mute and the step buttons light (grey = empty, yellow = saved):

For snapshots of the sound itself, see Sound snapshots.

• Volume controls Move's master output, everywhere.
• Shift + Volume sets the active track's volume, also everywhere — Track View, Session View and the sound editor.
• A chain track's level and a Move track's mixer level are the same values the mixer rows show, saved with the project.
• A MIDI track sends standard MIDI volume (CC 7) on its channel out the USB port. A track that plays another track's instrument has no output of its own and says so.

Shift + click the track's Instmt/Dest row — the top row of its TRACK CONFIG menu — and choose Conductor, just after the Move instruments.

• The transport must be stopped, and it asks first (Make Conductor?).
• Its notes carry over; its effects, arps and automation reset.
• If another track is already the Conductor, the screen says which — route that one back first.
• Mute pauses conducting; the responders snap back to their written pitch.

A Conductor's TRACK CONFIG menu has only the Instmt/Dest row and the track's own settings — no FX slots, mixer controls, LFOs or presets. The track's instrument is parked: choose an instrument from the same picker and it returns with everything attached, and the track is ordinary again.

Zero transposition is the project's root note in middle C's octave (C3). On a new Conductor that note sits mid-grid — in a seven-note scale, the second row's fifth pad (and the same note on the third row's second pad and the bottom row's last). The bottom-left pad is an octave down.

• Play the root and nothing shifts; play higher and the responders rise, lower and they fall.
• The Conductor's own octave scales the move: an octave up on the Conductor is an octave of transposition.
• The shift follows the global Scale Aware setting — by scale degree (staying in key) when on, by semitone when off.
• Between Conductor notes the responders return to zero, unless Cond Lock is on (below). A muted Conductor always holds them at zero.
• Drum tracks never respond.

A Conductor has six banks on its map, starting on CLIP; its CONFIG (the TRACK CONFIG menu) is on the bank map. ON/OFF, OCTAVE, TIMING and Cond Lock belong to the Conductor's current clip, so different Conductor clips can steer different tracks:

When you bake a scene or export to Live, an Apply Conductor? step can fold the transposition into the responding clips. The Conductor track itself has no bake and exports as a silent placeholder.

• Tap Loop to lock it on hands-free; hold Loop to use it only while held.
• Tap Loop, Back or Note/Session to leave; your mod state is kept.
• Shift + Loop toggles Latch.
• The screen shows the recalled preset's name, or NO MODS ENGAGED.

   top row      wild mods        — blue
                velocity / gate  — yellow
                pitch mods       — magenta (melodic only)
   bottom row   length · hold · sync · latch

The bottom row sets the capture length and mode:

Sync and Latch start on. Shift + a length pad keeps that length looping after you let go; lengths stack, and Hold clears them.

The three mod rows transform the loop. With Latch on, tapping a mod pad toggles it on until you tap it again; with Latch off, a mod runs only while you hold its pad. Press a lit pad to turn its mod off.

A track feeds Performance Mode when its Looper setting is on (Track settings). While Performance Mode is locked, touch a knob to toggle its track's Looper — the knob LED is the track color when on.

The step buttons are 16 preset slots, while Performance Mode is locked on or Loop is held:

• Press one to recall it (again to turn it off); Shift + step saves; Delete + step clears.
• Step LEDs: white = recalled, blue = saved, grey = empty.
• Slots 1–8 ship with combinations (Float, Sink, Heartbeat, Fairy Dust, Robot, Dissolve, Chaos, Lift). You can save over them; they return to the factory set at the next launch.
• Slots 9–16 are yours and are saved with the project.

Open it from the CONFIG pad on the bank map (hold the jog), which opens the menu straight away. As a bank its card is the menu itself, at rest inside corner brackets; click and the menu is live — the jog moves its cursor and a click uses the row. CONFIG has no knobs.

The track's levels are on MIX, the last bank (Volume, Pan, Send A, Send B on knobs 1–4). On a MIDI track MIX holds that track's controllers instead — Expression, Pan, Mod, Sustain, Program, Bank MSB and Bank LSB. Touch Send A or Send B and click the jog to land in that send's effects (the knobs wear corner brackets to say so); Back returns to MIX. The session mixer does the same on its SEND A and SEND B pages: touch any track's knob and click.

• Once open, the menu stays up until you leave it.
• Outside a module's own pages, knobs 1–4 stay the track's levels.

Every list works as described in Menus & Project Settings.

• Deeper screens open as overlays over the screen you came from, with a breadcrumb (T3 > Macros > Knobs).
• A setting with more than two choices opens a list to pick from; backing out leaves it unchanged. The track's own settings at the foot of the menu are the exception: a click hands the setting to the jog.

The rows run top to bottom in groups, with a line between them. A track shows only the rows it has:

On the Instmt/Dest and effect rows, a hint band at the foot of the menu says what the click and the Shift chord do.

Swapping and reordering effects:

• Shift + click an effect row to open its module list, with the loaded module in [brackets]. Pick another to swap it.
• Indented under it, <Move up and >Move down swap the effect with its neighbour (each appears only toward a block that holds an effect). The effect keeps playing through the move — a reverb keeps its tail — and its automation, macros and preset name go with it.
• The same rows reorder the Master, Send and Move FX buses.
• Mute + click the jog on an effect row bypasses that effect without muting the track. Mute and solo live on the Mute button.

Shift + click the Instmt/Dest row for the picker — one list, in groups:

• A Move instrument belongs to one track at a time. One that another track already plays shows that track's number (Move 2 - T3) and the jog steps over it. To play it from a second track, point that track at the owner (Track N).
• List: All (the top row) filters the generators to a list of your own. Click it to choose a list or make one (New List…, Rename, Delete, Clear); Shift + click a generator to add it to a list or take it out. Your Favorites wear a ★, in every list and in the effect browser.
• If a change would leave macros or automation lanes with nothing to drive, dAVEBOx says how many and asks first (CHANGE TO …?).

To change a Move instrument's kit or preset, click the Instmt/Dest row — or tap INST on the bank map — to open Move's own editor for that instrument (Track View only), and work with it as you would on Move.

• Move takes the screen, jog, knobs, Back, Mute and Shift (so Shift + jog works in Move's editor). Hold the jog and the bank map comes up over Move's screen — tap a bank or a track to leave for it, or let go to stay; a quick click is still Move's, landing as you let go; the pads, step buttons and transport stay with dAVEBOx, and dAVEBOx's own Shift gestures still work.
• Press Back once you're at the top of Move's editor (the instrument's main screen) to come back, Note/Session to leave for Session View, or hold the jog and tap a track pad to leave and go straight to that track.

A plain click does nothing on a MIDI channel or a followed track. On a track set to None, it opens the picker.

Click an instrument or effect to open its editor: the knobs edit its parameters and the jog turns the pages. Shift + jog switches track, and the editor follows to the new track's instrument. A module that draws some of its own cells (a waveform, a picture of its mode) shows them in place of a plain dial.

Touch a knob and click the jog for a parameter a knob can't turn well:

• a file opens the file browser;
• text opens the keyboard;
• a long list opens a picker;
• a sample marker opens a full-screen waveform (the jog moves the marker, knob 8 zooms, Shift + click picks the file).

The last two pages are the same for every module:

• My Presets — the module's own presets. Preset opens the list, which auditions as you scroll; [Save current…] sits at its top, and Shift + click deletes one. Save, Save As and Delete sit beside it.
• Module — Module Menu (the module's full parameter list, for settings the knob pages don't show), Module Help (when the module has it), Buses (when the instrument can split its voices — the same screen as the Sound menu's Buses row), Swap Module and Remove Module (the way to empty an effect slot). Swapping or removing asks first if macros or automation would be left behind.
  • On a MIDI effect that makes notes of its own — a drum-pattern or step generator — the page also has Notes to Seq (Off / On). See below.

Notes to Seq — recording what a MIDI effect generates. A generating MIDI effect normally plays only its own instrument, so the sequencer never sees its notes. Turn Notes to Seq on and they count as playing on that track:

• Record writes them into the clip. On a drum track each note goes to the lane that plays it; notes no lane plays are left out.
• With Record off, Capture keeps them (on the track you are on).
• A repeating pattern is recorded once, however many times the clip goes round.
• Once the pattern is in the clip, bypass or remove the effect (or turn the switch off and stop it) — otherwise the clip and the effect both play it.
• Only notes the effect makes on its own are taken, not notes it changes on the way through, so it is offered only on effects built to generate.
• The setting is saved with the project and goes back to Off when the effect is swapped or removed.

How the knobs feel — in a module's editor, on MACROS, and for pan and the sends on MIX and in the session mixer:

• Every knob sweeps its whole range in the same gesture; turning faster moves further.
• A short count (voices, a pad number) or a list takes four clicks per step.
• Hold Shift for fine control — a tenth of the step, or one option per click on a list.

Drum modules follow the pad you hit: playing a pad brings that drum's parameters up on screen. Only a pad you physically press counts — a playing pattern or incoming MIDI never moves the editor.

Presets (the SLOT PRESETS screen) saves and loads the track's whole chain — instrument, effects and macros:

• [Save] overwrites the loaded preset (it asks first); [Save as…] names a new one.
• Click a preset to load it; Shift + click deletes it.
• A * marks the loaded preset.

LFOs opens LFO 1 and LFO 2, on Schwung and Move tracks:

Buses appears below Send B only on an instrument that can split its voices, such as a drum module (and on the instrument editor's Module page). It lists the instrument's buses and New Bus. Each bus has:

• Voices — which voices play through it. Play a pad and the list jumps to that voice; click to take it. A voice belongs to one bus at a time.
• its own Inserts, and Send A and Send B levels;
• Rename and Delete.

MACROS is the CTRL bank on the jog; AUTOMATION sits beside it on the bank map. Its eight knobs play whatever you assign to them, and each cell shows its target's value the way the module editor does — a dial, a big number, a list square, a fader for a level. A knob with no target, or whose target was swapped away, shows -- and reads UNASSIGNED when touched.

Touch a knob and click the jog to edit that macro. Every macro's cell has corner brackets; while you touch one, the bottom of the screen reads CLK ASSIGN (nothing assigned yet) or CLK EDIT.

• On an unassigned knob, choose a module (or a bank, Levels, MIDI, or SnapMorph), then a parameter, and you're back on the MACROS page.
• (None) at the top clears the knob.
• If the same module sits in two slots, the slot is shown beside its name.

#One knob, several parameters

Once a knob has a target, touch + click opens it — a short list of everything the knob drives, each entry with its Lo, Hi and Travel:

Ctff          Syn>cutoff
  Lo                  0%
  Hi                100%
  Travel         Bounded
+ Add target

• + Add target puts another parameter on the same knob, each with its own range.
• Click an entry to point it somewhere else (it keeps its range); Shift + click removes it.
• Lo and Hi set how far the parameter travels as the knob goes from bottom to top. Set Hi below Lo and it runs backwards, so one knob can open a filter while it closes a reverb. On a list parameter they choose a span of the list. You hear a range as you set it.
• Travel — Bounded (the default) keeps the parameter's own feel and stops at the range; Full spreads the range across the knob's whole sweep. Full suits a filter, not a parameter with only a few values.

A knob on a single target behaves like that target: its own dial, its own steps. A knob on several targets shows its own position as a percentage under a short name (MAC1, MAC2…, numbered in knob order); touch it and the header says what it drives (CTFF +2).

Recording: a macro records as its parameters.

• Turn it while recording and each parameter records its own lane; turn it while holding a step and that step takes a lock.
• Delete + touch clears all its lanes at once; Mute + touch switches them off together.
• A parameter recorded separately is pulled back in line by the next turn of the macro.
• A macro on a LIVE ARP setting moves it but is never recorded.

MIDI targets. Any track can point a macro at Aftertouch or Pitch Bend (pick MIDI); a MIDI track can also point one at any MIDI CC (pick MIDI CC, then the number). Pitch bend springs back to centre when you let go; Shift + turn latches it.

Assignments belong to the project, and a saved chain preset carries them with it.

Hold Capture and the 16 step buttons become sound snapshots. In Track View they hold the active track's sound; in Session View, the whole device's.

Undo takes back a recall. A snapshot holds every module's settings, the effect buses, the mixer levels and the macro positions — not mutes.

SnapMorph turns one knob into a path between two or more of the track's snapshots. Touch an unassigned macro, click, and pick SnapMorph (the last entry), then click the snapshot slots in the order the knob should travel: [1] at the bottom of the turn, [2] next, and so on. The knob is live as soon as two are in.

• Numbers the snapshots share glide (volume moves in dB, the way the fader travels); a choice — a waveform, a switch — flips halfway across.
• A block whose module differs between the snapshots stays out of the morph.
• On a Move track the morph covers the track's bus effects and levels; a MIDI track has nothing to morph.
• The knob shows its position under MORPH; Lo and Hi window the path.
• It records as one lane (SnapMorph K4 in the AUTOMATION bank) and doesn't export to Live.

Three buses sit across every track — MASTER FX and the two sends, SEND FX A and SEND FX B — each with four effect blocks, edited exactly like a track's.

• Master FX processes everything on its way out.
• A send is fed by each track's Send A or Send B level, so several tracks can share one reverb or delay. Each send's Return level sets how much comes back into the mix.

To reach them, click or hold the jog in Session View and tap MASTER, SEND A or SEND B on the Session map. Back from an effect bus's top level returns to the Session overview.

A track's destination is its Instmt/Dest row, at the top of TRACK CONFIG: one of Move 1–4, a Schwung generator, a MIDI channel (out USB-A), another track's instrument, or None.

• A new project starts with tracks 1–4 on Move 1–4 and tracks 5–8 on Schwung.
• Several tracks can go to MIDI channels at once for a multitimbral rig.
• Tracks that play Move instruments need Link enabled in Move's System Settings; dAVEBOx warns you (LINK AUDIO ROUTE) if it's off.

A USB-A controller plays the active track, its notes moved onto that track's channel; filter by channel with MIDI In in Project Settings. On a drum track an incoming note plays the lane set to that note. What shapes live input depends on where the track goes:

On a track set to a MIDI channel, everything goes out USB-A — the sequence, live pads, effects and automation. Transport Stop sends note-offs; Delete + Play while stopped sends a MIDI panic on every channel.

dAVEBOx runs its own clock by default. Set Clock Follow → Move in Project Settings to lock to Move's transport instead: dAVEBOx sequences while Move supplies clock, transport and voices.

• Tempo comes from Move. BPM shows Move and can't be changed; Tap Tempo says Tempo follows Move.
• Play drives Move. dAVEBOx's Play starts and stops Move's transport, and both launch from the same downbeat.
• Recording starts Move and counts one bar on its clock before it records.
• If Move's clock stops, so does dAVEBOx — though held arpeggios and synced delay keep running at Move's tempo. If Move doesn't start, dAVEBOx plays on at its last tempo and shows CLOCK FOLLOW / Move didn't start.
• Keep Move's own sequencer empty on the tracks dAVEBOx feeds.

Leave Clock Follow Off for the normal internal clock.

Clock Out → On sends MIDI clock and start/stop out the USB-A port, so external gear locks to dAVEBOx. It applies while free-running; with Clock Follow on Move it is suppressed and shows —.

Bake (the Sample button) renders a clip's sequencer effects — NOTE FX, HARMONY, DELAY, SEQ ARP — into plain notes, then resets those effects. The clip sounds the same, with a clean effects chain to build on.

• A melodic clip (Track View): tap Sample, then choose the loop count (1× / 2× / 4×) and whether to wrap the delay tails for a seamless loop.
• A drum clip adds a first choice — the whole clip, or just the selected lane.
• A scene (Session View): tap Sample, then tap a side button or a step button to choose the row, then make the same choices. Empty clips are skipped.
• When you bake a scene whose Conductor clip has responding tracks, a last Apply Conductor? step can fold its transposition into those clips. Baking a single clip never applies the Conductor.

Live Merge records the actual output of your tracks — arps, delays, knob rides and all — into plain clips.

• Arm it with Shift + Sample from a stopped transport; a notice says what it will capture and Press Rec to start.
• Press Record to begin: a 1-bar count-in, then a clean take from the top. Back cancels at any point, even at the placing step.
• The view you arm from sets the scope:
  • Session View — all 8 tracks, committed to a scene row you pick.
  • Track View — the active track alone; when you stop, Session View opens with that track's empty clips blinking. Tap one to keep the take.
• Press Record again to stop (or it stops at the 256-step limit), then tap a destination to place the take.

Project Settings → Export to Ableton (transport stopped) writes an .ablbundle that desktop Live opens directly. The screen shows where it was saved: download it from the Files page of the Schwung web manager (move.local:7700), in the dbx-host/davebox-exports folder. It opens as 8 MIDI tracks × 16 scene slots with the tempo and root note (not the scale — the set opens in Major).

• Move tracks export the real Move instrument and preset. Every track keeps its dAVEBOx color.
• Schwung, MIDI and Conductor tracks get a placeholder (so does a Move track with no matching Move instrument), switched off: the notes are there, but nothing plays until you drop in your own instrument.
• Schwung tracks are named for what they played — SCH-nusaw, or SCH-nusaw - Big Lead when the module reports a patch name (most modules don't).
• Send levels come across, along with two empty return tracks to send to. Level and pan come across as automation.
• Notes are baked — each clip exports what you hear: effects rendered, delay tails wrapped, drum polymeters flattened, and randomized clips written as several loops of variation.
• An Apply Conductor? step works as it does for bake, and never changes your live set.
• Automation comes too — see below.

The bundle carries its own samples. Move Drum Racks need Live 12.1+. Export is one-way.

#What automation carries

Carried:

• Volume, pan and both sends, as clip automation on the track's mixer.
• Aftertouch on any track.
• Pitch bend on Move-routed tracks, scaled to that instrument's own bend range.

Aftertouch and pitch bend are written onto the notes rather than as a separate lane, so they exist only while a note is sounding.

Not carried:

• CC automation — a Move set has no place for a CC curve.
• SnapMorph lanes — a morph knob has no Live equivalent, and the parameters it drove aren't exported either.
• Pitch bend on Schwung tracks — the bend range is set by the synth, and a Schwung track exports as a placeholder.
• Automation inside a Schwung module, and dAVEBOx's own bank parameters — neither exists in Live.
• The part of a lane that runs past its clip. A lane can be longer than its clip in dAVEBOx — a 4-bar filter sweep over a 1-bar loop — but in Live a clip's automation loops with the clip, so the export keeps only the stretch inside the clip and repeats it.

Touch knob 8 on the CLIP or DRUM LANE bank and click the jog (any track except a Conductor, whatever it plays through). The MIDI browser fills the clip you are on from a standard MIDI file (.mid, .midi, .smf, .kar, .rmi). Keep your MIDI files anywhere in your user data folder — the Files page of the Schwung web manager (move.local:7700) uploads there. The notes are copied into the clip; the file isn't needed afterwards. No MIDI files come with dAVEBOx.

It has three layers, and Back steps out of one at a time:

The list. On a track's first visit the browser opens on your user data folder. Turn the jog to move through it; every file plays as you land on it, in place of what the track plays: in time with the song while the track is playing, otherwise on its own. Each file shows its length in bars (and DRM if it is all drums). Click a folder (NAME/) to go in; .. at the top goes up. A file with several parts (a song with a lead, a bass line and drums) shows NAME> and its part count: click it to go in, and its parts are laid out like files. A name too long for its row scrolls while the cursor is on it, so you can read all of it. Click a file (or part) to pick it — the card comes up. Back goes up a level, as .. does; at the top it leaves the browser (asking first, as the card's Back does, if you had picked a file). Hold Back to leave from anywhere.

The card is the file you picked, still playing. Its knobs work like a bank's: touching one names it, and turning Stretch (or, on a drum track, Map) brings up its list.

• Knob 1, Start — the bar of the file to start from.
• Knob 2, Bars — how many bars land in the clip. Never more than the file has from Start, nor than the clip holds at this resolution: 1/16 holds 16 bars of 4/4.
• Knob 3, Res — the clip's resolution (its step size), 1/32 to a whole bar, as on the CLIP bank. It doesn't move the notes: each keeps its timing.
• Knob 4, Stretch — play it at /8, /4, /2, x1, x2, x4 or x8 of its length.
• Knob 5, Oct and knob 6, Semi — move it up or down (three octaves, or eleven semitones).
• Knob 7, Scale — On folds every note into your project's key and scale (a note between two scale notes goes up); Off plays it as written. Oct and Semi move the notes first, so they set where the fold lands.
• Knob 8 shows the file's tempo (BPM), if it has one.

Each new file starts at Start 1, Res 1/16, Stretch x1 and its own length.

On a drum track, knob 5 is Map instead: where the file's drum sounds go — GM (the lanes playing their General MIDI notes), Move (Move's own kit layout) or Off (from the lane you are on). The right-hand pads are the file's sounds, each in its colour: hold one to hear it alone and see where every sound goes, and tap a lane pad to put it there (again to take it off). Up to eight sounds are placed.

The line under the top knobs is the file's notes: the brackets are what will land, notes outside them are dotted, and a playhead follows the preview. The top right says what won't land — CUT (outside the brackets), OVER (past the clip's note limit), OFF (drum sounds with no lane) — or REPLACES when the clip already has notes. Shift + jog click mutes and unmutes the preview (the notes on the line blink while it is muted). The jog brings the list back.

Loading asks first. Jog click on the card: LOAD INTO CLIP A? — turn the jog to Yes and click. It goes into the clip you are on and replaces it — on a drum track, only the lanes a sound goes to; the other lanes keep their notes. One Undo takes the whole load back. Back from the card with a file picked asks whether to load it first: Yes loads and leaves, No (or Back) leaves without loading. Either way you are back on the CLIP or DRUM LANE bank.

Each track remembers its own last file while you work, so a drum track and a melodic track can each come back to their own folder.

• Only notes come in — no controllers, pitch bend or program changes.
• A melodic clip's automation is cleared with it, so it plays exactly the file's notes (Undo brings it back with the rest).
• The file's tempo isn't applied: the notes play at your project's tempo, and bars follow the file's time signature.
• A melodic clip holds up to 512 notes; a drum lane, 512.
• The transport keeps running while you browse; the step buttons are blocked (lit dim).

Open the track's TRACK CONFIG menu, turn to Export to MIDI and click. The clip you are on is saved as a standard MIDI file, as it plays: NOTE FX, harmony, the arp and the delay are baked in, a clip with random settings is saved as 8 cycles, and a track that follows the Conductor is saved transposed. A drum clip is one file, each lane on its own note (channel 10).

The file goes to the dAVEBOx MIDI folder in your user data, named after the project, track and clip (mngk 3B.mid); a second export of the same clip adds 2 rather than overwriting. Download it from the Files page of the Schwung web manager, or bring it back with Import MIDI. Stop the transport first — like the Ableton export, it won't run while playing.

dAVEBOx records MIDI, not sound. To record the Move's audio output to a WAV file, use the Quantized Sampler built into Schwung: hold Shift, touch the Volume knob and press Sample.

• The menu groups these with a line between each group, in this order.
• A new project starts in a random key and scale.
• Host Settings... and Move Settings... apply to every project, not just this one.
• Move Settings... shows Move's own settings menu on the screen: turn the jog to choose, click to open or change, Back to step out. The pads, steps, knobs and transport stay dAVEBOx's, so the music plays on. Shift + Step 2 or Back at the top of Move's menu brings you back here; Note/Session goes to Session View.
• Tap Tempo is Shift + Step 5: tap any pad in time, turn the jog to adjust, click to set.

Scales: Major, Minor, Dorian, Phrygian, Lydian, Mixolydian, Locrian, Harmonic Minor, Melodic Minor, Pentatonic Major, Pentatonic Minor, Blues, Whole Tone, Diminished.

Editing Key or Scale moves your melodic clips with it:

• As you turn, the pads rearrange and, while playing, you hear a live preview.
• Click to commit. If any melodic clip holds notes, Transpose clips? asks first: yes moves the notes; no applies the new key/scale and leaves the notes where they are. Backing out cancels.
• Key moves by the shortest distance. Scale remaps by scale degree between scales of the same size, otherwise to the nearest in-scale note.
• Drum tracks are untouched.
• A committed transpose can't be undone — check the preview before you confirm.

dAVEBOx saves as you go (Saving). For named backups, Save state keeps up to 16 snapshots per project:

• Each is stamped with the date and time. Saving asks first; when all 16 are used, it asks which one to replace.
• Load state restores one.
• Snapshots belong to the project and survive Clear Sess.
• Snapshots saved by a different dAVEBOx version can't be loaded; Load state offers to delete them.

Every kind of preset and snapshot at a glance:

These sit at the foot of the track's TRACK CONFIG menu, below a divider — not in Project Settings. Click a row to give it the jog, turn to change the value, then click (or Back) to let go. Rows that don't apply to the track's type or route are hidden, so the list is shorter on a MIDI track or a Conductor.

Where the track's notes go is the Instmt/Dest row at the top of the same menu — see Choosing an instrument.

dAVEBOx SA keeps its own projects, separate from your Move sets. Launching dAVEBOx sets your Move sets aside, untouched, and leaving puts them back. Move and official Schwung never see the projects; dAVEBOx never sees or changes your Move sets.

The project picker opens with Project Settings → Projects... or Shift + Step 1, from anywhere. The pads become your project shelf — one pad per project, 32 slots:

• Lit pads are projects, each in its own color. Solid white is the open project; the selected one pulses in its color (white if it's also the open one). Dim red is a project whose song file is damaged or missing: it shows CAN'T OPEN and won't load, but you can still rename, recolor or delete it.
• The screen shows the selected project — its name, then Load, Rename, Color. On the open project the name reads CURRENT and Resume replaces Load, closing the picker (so do Back and Note/Session). If your last project no longer exists, the screen says Select project until you tap a pad.
• Tap a project to select it; turn the jog to choose a row, click to select. While a project loads, the lights go dark. Load stops playback first.
  • Rename opens the on-screen keyboard and takes effect at once, even on the open project. Two projects can't share a name (NAME TAKEN).
  • Color lists the palette: the jog moves through it and the pad previews each color live; click sets it.
• Tap an empty pad and confirm to create a new project. It opens when you choose Load.
• Shift + tap loads a project at once; on an empty pad it creates the project and opens it in the same press.
• Copy: hold Copy, tap the project, then tap an empty pad. Releasing Copy cancels. The copy is a snapshot, colors and all, named "Name Copy".
• From your template: once you have saved a template (below), creating a project asks Empty or Template (Template selected); Shift + tap asks too.
• Delete: hold Delete, tap the project, tap it again to confirm (it blinks red in between). Releasing cancels. You can delete the project you're in: the screen warns that dAVEBOx will restart, and it returns a few seconds later at the project picker with nothing loaded.
• Back steps out (color → the project's screen → closed); Shift + Back leaves dAVEBOx SA.
• PROJECT DID NOT OPEN means Move couldn't open the project you chose. dAVEBOx saves nothing until a project is open. Retry tries the same project again; Back returns to the picker. If the project list itself can't be read, the screen says so and offers Retry or Quit.

Project template. Project Settings → Set as Template saves a copy of the project you're in as the starting point for new projects: its project settings, the instrument and effects on each track with their settings, the MACROS, and the track settings (type, layout, transpose, VelIn, aftertouch, looper, and where each track plays — a MIDI track's program, a drum track's pad notes). No clips, notes or automation come along, and every sequencer bank (NOTE FX, HARMONY, DELAY, SEQ ARP, LIVE ARP…) starts at its default. The template is its own copy: changing or deleting the project afterwards doesn't touch it. Setting a template when you already have one asks before replacing it. Clear Template (shown while you have one) makes New start empty again.

If a template uses a module this Move doesn't have, the new project starts with that slot empty and the screen names what's missing (MODULES MISSING).

Compatibility and what's saved:

• Copy makes a snapshot of a project; later edits to the original don't follow. Delete removes it straight away.
• A project saved by a different dAVEBOx version shows STATE MISMATCH: No (the default) exits with the file kept, Yes erases it and starts clean.
• Saved per project: all notes, effects, automation and timing; each track's settings and sound; the project settings; mute/solo state and all snapshots; Performance Mode presets 9–16; and Note Repeat masks and rates.

dAVEBOx runs on its own copy of the Schwung host, installed beside official Schwung; only one of them runs at a time. What you install or make is shared; each keeps its own settings.

Shared presets and lists are stored in official Schwung's folders, so removing or resetting official Schwung removes them too.